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1
Designing a World-Class Architecture Firm: The People, Stories, and Strategies Behind HOK. Wiley & Sons, Limited, John, 2020.
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MacLeamy, Patrick. Designing a World-Class Architecture Firm: The People, Stories, and Strategies Behind HOK. Wiley & Sons, Incorporated, John, 2020.
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MacLeamy, Patrick. Designing a World-Class Architecture Firm: The People, Stories, and Strategies Behind HOK. Wiley & Sons, Incorporated, John, 2020.
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MacLeamy, Patrick. Designing a World-Class Architecture Firm: The People, Stories, and Strategies Behind HOK. Wiley & Sons, Limited, John, 2020.
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Sklair, Leslie. The Icon Project. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190464189.001.0001.
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In the last quarter century, a new form of iconic architecture has appeared throughout the world's major cities. Typically designed by globe-trotting "starchitects" or by a few large transnational architectural firms, these projects are almost always funded by the private sector in the service of private interests. Whereas in the past monumental architecture often had a strong public component, the urban ziggurats of today are emblems and conduits of capitalist globalization. In The Icon Project, Leslie Sklair focuses on ways in which capitalist globalization is produced and represented all over the world, especially in globalizing cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums, and vast urban megaprojects--constitute the triumphal "Icon Project" of contemporary global capitalism, promoting increasing inequality and hyperconsumerism. Two of the most significant strains of iconic architecture--unique icons recognized as works of art, designed by the likes of Gehry, Foster, Koolhaas, and Hadid, as well as successful, derivative icons that copy elements of the starchitects' work--speak to the centrality of hyperconsumerism within contemporary capitalism. Along with explaining how the architecture industry organizes the social production and marketing of iconic structures, he also shows how corporations increasingly dominate the built environment and promote the trend towards globalizing, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think.
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Siwicki, Christopher. Architectural Restoration and Heritage in Imperial Rome. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848578.001.0001.
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This book addresses the treatment and perception of historic buildings in imperial Rome, examining the ways in which public monuments were restored in order to develop an understanding of the Roman concept of built heritage. The study considers examples from the first century BC to second century AD, focusing primarily on the six decades between the Great Fire of AD 64 and the AD 120s, a period of dramatic urban transformation and architectural innovation in Rome. Through analysing how the design, materiality, and appearance of buildings, including the temple of Jupiter Capitolinus and hut of Romulus, developed with successive restorations, the case is made for the existence of a consistent approach to the treatment of historic buildings in this period. With the purpose of uncovering attitudes to built heritage in Roman society more widely, the book also explores how changes to particular monuments and the urban fabric as a whole was received by the people who experienced it first-hand. By examining descriptions of destruction and restoration in literature of the first and second centuries AD, including the works of Seneca the Younger, Pliny the Elder, Martial, Tacitus, and Plutarch, a picture is formed of the conflicting ways in which Rome’s inhabitants responded to the redevelopment of their city. The results provide an alternative way of explaining key interventions in Rome’s built environment and challenge ideas that heritage is a purely modern phenomenon.
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Szczepaniak-Gillece, Jocelyn. The Optical Vacuum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.001.0001.
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Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive urban movie palace to the intimate streamlined theater, movie theaters became “neutralized” spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. This book examines the impact of Schlanger’s work in the context of changing patterns of spectatorship; his theaters and writing propose that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. As such, this study insists that changing models of cinephilia are determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how twentieth-century viewing has similarly transformed. And by looking backward into cinema’s architectural history, 1970s screen theory becomes clearer as a historical in addition to a theoretical model; the emergence of the apparatus can be found in the immersive powers of the neutralized movie theater. In this book, exhibition practice takes its place as a force that propels spectatorship through time. Ultimately, space and viewing are revealed to be intertwined and mutually constitutive phenomena through which spectatorship’s discourses are all the more clearly seen.
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Nieland, Justus. Interviews with David Lynch. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036934.003.0002.
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This chapter presents interviews with David Lynch. Specifically, an interview by Kathrin Spohr published in form 158, no. 2 (1997): 44–45, and another by Mike Figgis published in Sight and Sound 17, no. 3 (2007). Topics discussed include Lynch's interest in furniture design; the role of architecture in his movies; how the notion of time as out of control was expressed in the set design of the Lost Highway; his use of his private spaces in his films; Inland Empre as his longest film; whether he had the complete film in mind when he began filming; and the reasons why he decided to concentrate on film rather than painting or writing.
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Dimendberg, Edward, ed. The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.001.0001.
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Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952–2009) was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books Window Shopping and The Virtual Window have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg’s work has never been the subject of an extended study. The Moving Eye gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.
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Seidler, Douglas R., and Amy Korté. Hand Drawing for Designers. Bloomsbury Publishing Plc, 2010. http://dx.doi.org/10.5040/9781501391170.
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Hand drawing remains a powerful tool in conceptual design. Hand Drawing for Designers: Communicating Ideas through Architectural Graphics will show you how to use hand drawing to explore multiple design responses quickly and intuitively and to develop a successfully responsive design solution. The text approaches the act of drawing as a communication tool, valued within design firms for conceptual design, design development, and client presentations. The concepts and methods in the text build, progressing from an introduction to drawing rationale to two- and three-dimensional drawing techniques and presentation drawings. Designed to strengthen the user's understanding of visual representation and technical drawing by visual teaching, Hand Drawing for Designers provides the skills for translating three-dimensional ideas into two-dimensional drawings that effectively communicate design concepts.
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Nieland, Justus. Wrapped in Plastic. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036934.003.0001.
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This chapter presents a commentary on David Lynch's film career. It focuses on how plastic is the prime matter of his filmmaking, essential to his understanding of cinema. It takes up plasticity's capacity for infinite transformation as an architectural and design dynamic, a feature of mise-enscène, and a mode of fashioning and psychologizing cinematic space. It then explores the emotional registers of plasticity, attempting to explain a key affective paradox in Lynch's work: the way it seems both so manifestly insincere and so emotionally powerful, so impersonal and so intense. Finally, it considers Lynch's persistent tendency to think of forms of media and forms of life as related species. Here, plastic is useful for conceptualizing his picture of the human organism as malleable and heterogeneous. The films examined in this chapter include Eraserhead (1977), The Elephant Man (1980), and Lost Highway (1997).
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Avila, Eric. American Cultural History: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190200589.001.0001.
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American Cultural History: A Very Short Introduction provides a chronological look at American culture—the values, attitudes, beliefs, and myths of a particular society and the objects through which they are organized—addressing literature, music, art, architecture, theater, film, television, and the Internet. In doing so, it emphasizes culture’s role in the shaping of national identity and how previous generations of Americans have imagined themselves, their nation, and their relationship to rest of the world. Across the lines of race, class, gender, sexuality, religion, ethnicity, generation, and geography, diverse Americans have forged a national culture with a global reach, inventing stories to underscore the problems and possibilities of an American way of life.
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Jones, Geoffrey. Accidental Sustainability. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198706977.003.0005.
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This chapter examines the scaling and diffusion of green entrepreneurship between 1980 and the present. It explores how entrepreneurs and business leaders promoted the idea that business and sustainability were compatible. It then examines the rapid growth of organic foods, natural beauty, ecological architecture, and eco-tourism. Green firms sometimes grew to a large scale, such as the retailer Whole Foods Market in the United States. The chapter explores how greater mainstreaming of these businesses resulted in a new set of challenges arising from scaling. Organic food was now transported across large distances causing a negative impact on carbon emissions. More eco-tourism resulted in more air travel and bigger airports. In other industries scaling had a more positive impact. Towns were major polluters, so more ecological buildings had a positive impact.
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Skrodzka, Aga, Xiaoning Lu, and Katarzyna Marciniak, eds. The Oxford Handbook of Communist Visual Cultures. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190885533.001.0001.
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The Oxford Handbook of Communist Visual Cultures critically examines and historically reconstructs the visual practices that have accompanied social transformations initiated by communist ideals in various parts of the world in the twentieth century. Bringing together diverse and broadly understood visual texts, including architecture, interior design, cartoons, computer games, fashion, photography, film and television, this volume explores how communism engages the visual. It is divided into five themed sections, focusing, respectively, on materiality; institutional factors and theoretical discourses; international and intercultural dimensions; visual production and strategic spectacles; and after-images, memory, and legacy of communist visual cultures. Thirty-two chapters written by an international team of scholars from their unique disciplinary perspectives investigate the ways in which communism uses visual aesthetics to articulate its value system and to implement its improvement project. The contributors ask how communist visual culture defines itself as a culture of specific media, specific forms, and specific practices. Supported by archival research and historical analysis, this volume is a call to examine the communist visual culture in a range of media and theoretical dimensions, toward a shared goal of reimagining it beyond the existing ways of thinking about it as a defunct project.
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Moss, Eloise. Night Raiders. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840381.001.0001.
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Night Raiders: Burglary and the Making of Modern Urban Life in London, 1860–1968 is the first history of burglary in modern Britain. Until 1968, burglary was defined in law as occurring only between the ‘night-time’ hours of nine p.m. and six a.m. in residential buildings. Time and space gave burglary a unique cloak of terror, since burglars’ victims were likely to be in the bedroom, asleep and unawares, when the intruder crept in, prowling near them in the darkness. Yet fear sometimes gave way to sexual fantasy. Eroticized visions of handsome young thieves sneaking around the boudoirs of beautiful, lonely heiresses emerged alongside tales of violence and loss in popular culture, confounding social commentators by casting the burglar as criminal hero. Night Raiders charts how burglary lay historically at the heart of national debates over the meanings of ‘home’, experiences of urban life, and social inequality. This book explores intimate stories of the devastation caused by burglars’ presence in the most private domains, showing how they are deeply embedded within broader histories of capitalism and liberal democracy. The fear and fascination towards burglary were mobilized by media, state, and market to sell insurance and security technologies, whilst also popularizing the crime in fiction, theatre, and film. Cat burglars’ rooftop adventures transformed ideas about the architecture and policing of the city, and post-war ‘spy-burglars’ theft of information illuminated Cold War skirmishes across the capital. More than any other crime, burglary shaped the everyday rhythms, purchases, and perceptions of modern urban life.
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Keeling, Kara K., and Scott T. Pollard. Table Lands. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.001.0001.
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Table Lands: Food in Children's Literature surveys food’s function in children’s texts, showing how the socio-cultural contexts of food reveal children’s agency through examining texts that vary from historical to contemporary, non-canonical to classics, the Anglo-American to multicultural traditions, including a variety of genres, formats, and audiences: realism, fantasy, cookbooks, picture books, chapter books, YA novels, and film. The first chapter tracks children’s cookbooks over 150 years to show how adults’ expectations change based on shifting ideologies of child capability. Subsequent chapters survey canonical authors. Social work theory, British rural and urban cultures, and poverty inform the analysis of the foodways that underlie Beatrix Potter’s animal tales. Investigating Jewish immigration and foodways, food manufacturing, and roadside/programmatic architecture reveals Maurice Sendak’s In the Night Kitchen as an immigrant Jewish and natively American work. A.A. Milne’s Winnie-the-Pooh books work as a künstlerroman; Mary Douglas’s semiotic analysis and the history of honey and bees show Pooh as a poet who celebrates food. Laura Ingalls Wilder’s Little House books contrast with Louise Erdrich’s Birchbark series: differing foodways showcase competing cultural and environmental values. The final chapters examine intersections of geography, history, and food in contemporary texts. Francesca Lia Block’s Dangerous Angels reflects Los Angeles culture. Disney•Pixar’s Ratatouille showcases French haute cuisine in its story of otherness. In One Crazy Summer and its sequels, Rita Williams-Garcia tracks the movement of African American internal diasporas, through southern foodways, soul food, and the Black Panthers’ breakfast program. Refugee Studies demonstrate how food is a primary signifier of the difficulties posed by forced migration in Thanhha Lai’s Inside Out & Back Again.
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Haacke, Paul. The Vertical Imagination and the Crisis of Transatlantic Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.001.0001.
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From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aimé Césaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of “high” and “low.”